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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

KOMODO....

Bastien Tribalat said:
To me this is not a DR test. It is an image recovery test if you under/over expose of X amount of stops. And yes, it shows without question that Arri is great at that. But again, it's not DR as in "how many stops of DR you have in a correctly exposed image at the native/nominal/voodoo magic ISO setting".

And I agree with what Karim said : they are both good cameras. Just different flavors.
(but when looking at a lot of DR tests, RED's usually top more than 14 stops BUT Arri's have a more balanced dynamic range which make all those stops more easily usable)



Once I showed your Monstro VS Alexa LF video to someone claiming that RED color science was crap and that the skin tones were always to green. On one of the shots, it's actually the LF skin tones that look a bit more green than RED's. His answer was : "the guy obviously mislabelled the 2 images it's impossible to get those results otherwise"...

So even if I do think that the two cameras are equal in qualities and are just two differents flavors, I think that some are really stuborn. ^_^
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1. I believe you can pretty much match any camera to any other camera if the data is there. Yedlin talks about it all the time.

2. I think every camera sensor is going to have its negatives and positives when it comes down to the quality and how many photosites the sensor has, as well as the aspects the manufacturer prioritizes in their cameras.
 
Nick Vera said:
1. I believe you can pretty much match any camera to any other camera if the data is there. Yedlin talks about it all the time.

2. I think every camera sensor is going to have its negatives and positives when it comes down to the quality and how many photosites the sensor has, as well as the aspects the manufacturer prioritizes in their cameras.
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Agreed.

We got sidetracked because I said that Helium had 15.2 stops of DR according to DXOMark so according to what was previously stated we can expect Komodo to be around 14.7 (based on the DXOMark results for Helium, AGAIN, not my personal findings) but you're totally right. ;-)

I think that confinement and waiting for the birth of this little dragon is getting to us :p
 
SKATEBOARD FOOTAGE

SKATEBOARD FOOTAGE

Has much more discussion happened regarding the skateboarding footage posted on Jarred's instagram? I'm so confused by it. It doesn't really do the camera any favors and the pavement has a magenta hue which leads me to wonder about OLPF issues and needing an IR cut similar to Blackmagic.
 
Bastien Tribalat said:
"the guy obviously mislabelled the 2 images it's impossible to get those results otherwise"...
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I will happily show anybody how to get good skin tones and generally the highest quality image out of any camera on the market. I very literally get paid to do that a few times a year for individuals, studios, and companies.

And while I'm certainly capable of the occasional typo, that isn't what I'm paid to do on any given project.

Completely on the record, I've been very on board and a fan of RED's general color workflow as well as their sensor tech from about Dragon onward (high fives for REDlogFilm also being spot on Cineon too). I had gripes with Mysterium-X, and though that's where I started with RED to eventually own MX and I could push out a great image from it, a great deal has evolved in the RED world. It was pretty noticeable to me during the first two years of Dragon being on the market as it lured many film folks over finally who were very highly critical before hand. I know this because we did a lot of sanity tests. Similar to the tests I've done for larger companies as well.

My last few years have been projects on various RED cameras, a smidge of Alexa LF, barely any Venice, the unicorn Alexa 65 shoots, and film in a few formats and stocks. I certainly enjoy hearing people's thoughts on cameras and their preferences, but I test everything grotesquely thoroughly. If there was something else I'd prefer filming on, I'd own two of them. A lot of the other systems have a great deal of merits as well as pros and cons. It's the same for the RED ecosystem as well.

On a personal note, I'm cool with their being a nice tug of war between Arri, RED, and more recently again Sony, with likely Canon coming back into the fray. I own cameras from a few of these companies obviously. Competition breads innovation and on that side of things I tend to side with innovation as long as it ticks off all my check boxes.


As a whole though my efforts here in this community, the tests, the charts, the tools, REDucation, and the occasional Masterclass has been geared towards ideally guiding people to create high quality imagery with their cameras.
 
Jason Henne said:
Has much more discussion happened regarding the skateboarding footage posted on Jarred's instagram? I'm so confused by it. It doesn't really do the camera any favors and the pavement has a magenta hue which leads me to wonder about OLPF issues and needing an IR cut similar to Blackmagic.
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Read Jarred's message...

Jarred Land said:
Not sure what you mean by tactic? This wasn't a marketing video. Or a "look how good this camera is give me your money" video. The camera isn't out yet. There is nothing to buy yet.. It was on my personal instagram and I have no idea why Instagram shares that to Facebook at such a shit resolution. But that's not what that video was about anyways.

Remember, we all at RED have all been in lock down in California, our factory has been closed. So I gave a bunch of Komodos to my troops to go shoot with. I've been doing the same. It's great for testing, and it is even better for us all to not lose our minds.

Most of us have gotten so busy over the last few years with the "business" that actual shooting has become one of those things that always seems to get pushed down the to-do list. And you gotta remember most of us are shooters... so watching my team go out while we have been on this pause and shoot stuff again and seeing that creative spark light up in them has been one of the most gratifying things ever for me. Heck... I personally have shot more in the last 2 months than I have in the last 2 years. It has reminded me why we started all this in the first place.


So yeah.. I know you all want to pixel peep and see footage and trust me that stuff will all come like a storm when it's out and people get their hands on it. It's getting close. When that happens I am sure there will be a ton of people sharing full resolution R3D's sent around the world and back again for you all to dig into, and I am sure some of it will be awesome, and I am sure some of it will suck.
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Phil Holland said:
I will happily show anybody how to get good skin tones and generally the highest quality image out of any camera on the market. I very literally get paid to do that a few times a year for individuals, studios, and companies.

And while I'm certainly capable of the occasional typo, that isn't what I'm paid to do on any given project.

Completely on the record, I've been very on board and a fan of RED's general color workflow as well as their sensor tech from about Dragon onward (high fives for REDlogFilm also being spot on Cineon too). I had gripes with Mysterium-X, and though that's where I started with RED to eventually own MX and I could push out a great image from it, a great deal has evolved in the RED world. It was pretty noticeable to me during the first two years of Dragon being on the market as it lured many film folks over finally who were very highly critical before hand. I know this because we did a lot of sanity tests. Similar to the tests I've done for larger companies as well.

My last few years have been projects on various RED cameras, a smidge of Alexa LF, barely any Venice, the unicorn Alexa 65 shoots, and film in a few formats and stocks. I certainly enjoy hearing people's thoughts on cameras and their preferences, but I test everything grotesquely thoroughly. If there was something else I'd prefer filming on, I'd own two of them. A lot of the other systems have a great deal of merits as well as pros and cons. It's the same for the RED ecosystem as well.

On a personal note, I'm cool with their being a nice tug of war between Arri, RED, and more recently again Sony, with likely Canon coming back into the fray. I own cameras from a few of these companies obviously. Competition breads innovation and on that side of things I tend to side with innovation as long as it ticks off all my check boxes.


As a whole though my efforts here in this community, the tests, the charts, the tools, REDucation, and the occasional Masterclass has been geared towards ideally guiding people to create high quality imagery with their cameras.
Click to expand...

Yep. I totally agree.
To me, as a very personal taste, the most beautiful digital images I've seen came out of the Alexa 65 BUT otherwise exactly like you : since REDLogFilm and Dragon sensor, RED footage is what I enjoy the most working with and watching. And Monstro is an AMAZING sensor. I know the DXL has the Light Iron proprietary color science (color pipeline ?) so it's not supposed to be "just a Monstro 8K" but nonetheless it is so beautiful. Stranger Things and Kingdom on Netflix, just to name two shows : amazing looking. The thing is, and again it is only MY personal feelings (so I'm not claiming it's an absolute truth), that with what RED is offering you can do so much. And I'm not saying with an Alexa you can't but to me it's a very different approach I can summarize with "RED is making a truely digital CINEMA image and ARRI is making an image that translate film into the digital realm".

Anyway, thanks for your work it is always useful.
 
Hey Guys

I’ve been MIA on RedUser for about a month now. Just wondering if there’s any information on Low Light capabilities that’s been talked about or an estimated release given the pandemic?

Love that the Red gang is getting creative with the troopers, this extra time we’ve all gotten has been a blessing as much as it’s slowed the world down. Excited to see the footage when it comes out and hope everyone is staying safe out there!
 
All this talk on sensor filters ... Will the Komodos be swappable?
 
Bastien Tribalat said:
Yep. I totally agree.
To me, as a very personal taste, the most beautiful digital images I've seen came out of the Alexa 65 BUT otherwise exactly like you : since REDLogFilm and Dragon sensor, RED footage is what I enjoy the most working with and watching. And Monstro is an AMAZING sensor. I know the DXL has the Light Iron proprietary color science (color pipeline ?) so it's not supposed to be "just a Monstro 8K" but nonetheless it is so beautiful. Stranger Things and Kingdom on Netflix, just to name two shows : amazing looking. The thing is, and again it is only MY personal feelings (so I'm not claiming it's an absolute truth), that with what RED is offering you can do so much. And I'm not saying with an Alexa you can't but to me it's a very different approach I can summarize with "RED is making a truely digital CINEMA image and ARRI is making an image that translate film into the digital realm".

Anyway, thanks for your work it is always useful.
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The Aeronauts on Amazon Prime blew me away. Shot on Monstro I believe. We are entering a decade where digital cinema aesthetics, while different, are exceeding the capabilities of film.
 
David Rasberry said:
The Aeronauts on Amazon Prime blew me away. Shot on Monstro I believe. We are entering a decade where digital cinema aesthetics, while different, are exceeding the capabilities of film.
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Indeed. ;)
 
In my head, the way Komodo came to be, it makes perfect sense to forget everything else.
The baby Dragon that's about to come into the world is different than all other cinema cameras.
We are dealing with a whole new sensor tech here.
So it is safe to expect the unexpected, but also consider that RED is building a whole new market with Komodo. A market with no competition at the moment.
If I remember correctly, we asked all kinds of questions, but never asked any about the OLPF.
 
Very serious question here. If we are able to get custom colored Komodos, that’s the route I’m going. If it’s only standard color or stormtrooper, I’m going stormtrooper. Is there any chance of getting more clarity here before stormtroopers launch lol
 
Gregory Karydis said:
In my head, the way Komodo came to be, it makes perfect sense to forget everything else.
The baby Dragon that's about to come into the world is different than all other cinema cameras.
We are dealing with a whole new sensor tech here.
So it is safe to expect the unexpected, but also consider that RED is building a whole new market with Komodo. A market with no competition at the moment.
If I remember correctly, we asked all kinds of questions, but never asked any about the OLPF.
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I think the competition is the $5000 ZCAM 6k and the just reduced $2000 6k Blackmagic Pocket. I believe Jarred saw these small cinema cameras carving out a new market and realizing that RED had the experience and tech to compete in the lower cost market segment that is selling a lot of cameras to people who might not be able to afford a 10k+ RED camera. This is something I imagine he's been wanting to realize for a while going all the way back to the 4K for 4K talk. This is 6k for 6k that he can deliver on. This should be a big part of how RED stays relevant in the coming years. Having an affordable option for every videographer who has dreamed of owning a RED and those larger companies and productions that can afford to have the very best which is what we will see with the DSMC3 brains, especially if they can continue to hone in their new dive into autofocus to appease customers who might otherwise buy an fs9 or c500 ii.

I do like the price point of the Komodo but, the thing that worries me is of the 3 things pieces of footage made available there is always a reason for it not looking great, ie; heavy grade (super bowl ad), limited time (SNL), just a RED staff out having fun with it (skateboarding). Which actually could be a good thing because although I think many of us are hoping for a mini RED helium or gemini look at under 10k we should be realistic about the limitations this camera is going to present. We'd love 60fps at 6k and even though the $2000 blackmagic pocket 6k can do that (smaller sensor, I know), it's not something we are getting from this camera. The skateboarding footage revealed some IR pollution which will have to be addressed with IR cut filters or some kind of later OLPF add on. The autofocus is very new and, as of now, doesn't have face tracking so it's definitely a welcome addition that I hope improves but seems like something RED is just getting their feet wet in.

Even with the limitations and the footage we've seen I'm still very excited about the camera and have plans to buy one. It feels like the beginning of the next chapter for RED. With Jim stepping away, the accessory tear-down controversy, and influx of new cameras, including the s35 4k Arri releasing this year, RED has to keep innovating and pivoting to stay relevant. I'm excited to see this camera in the hands of a professional DP and colorist so we can see what this little thing is really capable of and in the mean time I admire Jarred for continuing to engage with his customers and I hope he gets as much out of those interactions as we do.
 
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